The cinema : 1952 (1952)

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SERGEI EISENSTEIN The Twelve Apostles This personal account by Eisenstein of production work on The Battleship Potemkin, and especially of his experiences shooting the famous Odessa Steps sequence, will interest everyone who has seen the film and realizes its importance in the early history of the cinema. To make a picture about an armoured cruiser, one needs ... an armoured cruiser. And to recreate the history of an armoured cruiser in 1905 it has to be exactly of the type that existed in 1905. In twenty years, for we began work on the picture in the summer of 1925, warships had changed radically. By the summer of 1925, there were no armoured cruisers of the old type to be found either in the Luga bay of the Gulf ; of Finland, that is, in the Baltic Fleet, or in the Black Sea Fleet. The cruiser Comintern bounces gaily on the Sevastopol road. But it won't do at all. It has neither the peculiar wide rump I nor the flat quarter deck that we need to recreate the famous i drama on the poop. The Potemkin itself wTas taken apart years before, and there is no telling where the broom of history has swept and dumped the sheets of armour-plate that covered its powerful sides. But reconnaissance, our film reconnaissance, has brought us the tidings that although the Prince Potemkin Tavrichesky is i